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Parable from Ramana Maharishi
Ten foolish men forded a stream and on reaching the other shore wanted to make sure that all of them had in fact safely crossed the stream. One of the ten began to count, but while counting others left himself out. "I see only nine; we have lost one. Who can it be ?" he said. "Did you count correctly?" asked another, and did the counting himself. But he too counted only nine. One after the other, each each of the ten counted only nine, missing himself. "We are only nine, they all agreed, "but who is the missing one?" they asked themselves. Every effort they made to discover the 'missing' individual failed. "Whoever he is that is drowned," said the most sentimental of ten fools, "we have lost him."
So saying, he burst into tears, and the rest of the nine followed suit. Seeing them, weeping on the river bank , a sympathetic wayfarer inquired for the cause. They related what had happened and said that even after counting themselves several times they could find no more than nine. On hearing the story, but seeing all the ten before him, the wayfarer guessed what had happened. In order to make them know for themselves that they were really ten, that all of them had come safe from the crossing, he told them, " Let each of you count for himself but one after the other serially, one, two three and so on, while I shall give you each a blow so that all of you may be sure of having been included in the count, and included only once. The tenth 'missing' man will then be found." Hearing this, they rejoiced at the prospect of finding their "lost" comrade and accepted the method suggested by the wayfarer. While the wayfarer gave a blow to each of the ten in turn, he that got the blow counted himself aloud. " Ten", said the last man as he got the last blow in his turn. Bewildered, they looked at one another. We are ten, " they said with one voice and thanked the wayfarer for having removed their grief.
That is the parable. From where was the tenth man brought in? Was he ever lost? By knowing that he had been there all the while, did they learn anything new? The cause of their grief was not the real loss of any one of the ten; it was their own ignorance, rather their mere supposition that one of them was lost( though they could not find who he was) because they counted only nine.
Such is the case with you. Truly there is no cause for you to be miserable and unhappy. You yourself impose limitations on your true nature of infinite Being and then weep that you are but a finite creature. Then you take up this or that sadhana to transcend the nonexistent limitations. But if you sadhana itself assumes the existence of the limitations, how can it help you to transcend them?
Hence I say know that you are really the infinite, pure Being, the Self Absolute. You are always that Self and nothing but that Self. Therefore, you can never be really ignorant of the Self; your ignorance is merely a formal ignorance, like the ignorance of the ten fools about the "lost" tenth man. It is this ignorance that caused them grief.
Know then that true Knowledge does not create a new Being for you: it only removes your 'ignorant ignorance'. Bliss is not added to your nature; it is merely revealed as your true natural state, eternal and imperishable. The only way to be rid of your grief is to know and be the Self. How can this be unattainable?
The Self is God. "I am" is God. If God is apart from the Self, He must be a selfless God, which is absurd. All that is required to realize the Self is to be still. What can be easier than that?
After addressing her concerns we came up with a plan of attack. Using Lanza Hair Care Decolorizer & Olaplex I Flamboyaged & Balayaged Multiple Schwarzkopf colors into her hair creating a S'ombre (soft Ombre) or Color Melting effect. After I gave her a Glossing Treatment. The Gradient Effect is so soft and subtle that it is and easy Transition into bolder color. because we did this approach Her maintenance will be almost nonexistent.
I love Route 66. It might not be THAT famous or THAT much recognized as one of the symbols of USA in USA as it is here in Europe, it might be mostly nonexistent (at least in it's filmed [movies] form) but it has made it's way to my heart.
One of the best known places on Route 66 (at least within it's Illinois part) is The Launching Pad restaurant along with it's Gemini Giant. Well, unfortunately the restaurant is closed now but Giant is still standing.
If you ever decide to go for Route 66 then if you start from Chicago then make a stop in Route 66 museum in Joplin, talk to very nice lady that works there and buy yourself set of maps and a route 66 book (well, a road book) by Jerry McClanahan and Jim Ross and stay out of interstates, business loops etc and follow one of the old variants of Route 66. Go slow and get as much as you can from the drive.
The 150 canals of Venice are its streets - roads for land passenger vehicles are nonexistent. Everyone must travel by foot or boat, tourists and locals alike.
General Reconnaissance and Torpedo Bomber. Postcard in my father's war time aircraft photograph album. My father started the album about 1939 when he was aged 14, and this card probably dates from around then.
Valentine & Sons, of Dundee and London, Post Card reference 38B-95.
The Botha had several major problems. It was considered to have poor lateral stability, while the view to the side or rearward was virtually nonexistent owing to the location of the aircraft's engines, with the poor view making the aircraft "useless as a GR [General Reconnaissance] aircraft". Finally, the Botha was also underpowered. Although the Botha successfully passed torpedo and mine-dropping trials, the aircraft's poor performance resulted in the decision in April 1940 to issue the Botha only to four general reconnaissance squadrons equipped with the Avro Anson, rather than the torpedo bomber squadrons previously planned.
I don't know why I'm doing this, but I've decided to post something here with this picture that I've written... the prologue, to be specific, of my memoir. While the memoir has gone dormant and hasn't been touched for months, (everything I want to write about is just a little too raw for me to approach yet), this prologue (split into three ideas) is, I think, a kind of decent thing I've written. And maybe it's because I've been feeling so off kilter, like i'm living in [un]reality, that I feel like I should share this with my flickr friends. If you hate it, that's fine... it just kind of shows where I'm at right now.
I don’t really believe in beginnings or endings. When you think in terms of literature, they’re absolute. A story must start with a beginning and conclude with an ending. When you think in terms of math, they’re nonexistent. A line has no inception and no conclusion. It is merely made of incalculable points, strung together and continuing to infinity. Maybe it’s odd that I’m a writer who doesn’t believe in these basic elements of plot.
Maybe it’s odder still that so many other people do. Why is it such a commonly accepted concept?
Life is simply a line, a thread of points, each a beginning and ending. There comes a point (An ending? A beginning? Both?) where you realize that everything is a start, and everything is a finish. And when you realize that, does it even make sense to distinguish between them?
So I guess that’s how I viewed my life, and how I approached the project of writing the story of it down. Not with the clichéd idea that all endings were beginnings, or vice versa, but with the idea that everything was simultaneously both of those things. And that, in the end, neither really mattered much nor meant anything.
The path was so faint at times, it was pretty much nonexistent. Yet, in other places it was clearly visible in the dunes...strange
Sutton Creek Trail/Alder Dune Trail, Siuslaw National Forest, Oregon USA
Community scout rangers project with African Conservation Centre and Amboseli Ecosystem Trust
Surrounding Amboseli, Kenya
Joan de la Malla
Amboseli is one of the best preserved Kenya’s national parks. Despite not having a large number of the official Kenyan Wildlife Service rangers, poaching is almost nonexistent. Much of its success is due to a project that organizes teams of local community rangers (Maasai) that live in the surroundings of the national park. This “community scout rangers” project creates a network of highly committed observers who are vital in the fight against poaching. They patrol daily and report the state and movement of wildlife around the park. They also mediate in human-wildlife conflicts and keep elephants safe and away from the farms that they are trying to access at night.
Websites: www.accafrica.org/, www.amboseliecosystemtrust.org/
In places the rough road was only one lane, which made passing anyone difficult. Fortunately, traffic was almost nonexistent.
NGC 2953 is a possible star in the constellation Leo, previously considered a lost or nonexistent object.
NGC 2953 was discovered by British astronomer John Herschel using a 47.5 cm (18.7 inch) f/13 speculum reflecting telescope at Feldhausen, Claremont, Cape Town on the 16th March 1836.
Wrongly suspecting the celestial object of having a nebula, John Herschel placed it in his general catalogue of nebulae and star clusters. NGC 2953 is also listed in the later New General Catalogue by John Dreyer.
The object location is close (separation ~05') to the magnitude 12.4 galaxy NGC 2954 (top of SDSS image).
Right Ascension 9h 40m 19s Declination 14º 49' 58"
Credit SDSS
Another exercise in book cover design, again just for the fun of it. This time it's an abstract piece for a nonexistent sci-fi book, in the design style of a Hungarian publishing house because besides giving my first ever try to this kind of abstract I also wanted to test my current brand-sensitivity, trying to match somebody else's general style but applying my own take on it.
Yeah, I've neved done anything this abstract before for a book cover.
I wonder what you see into the cover illustration, if anything. Will you tell me?
Yeah, the chances of me ever getting scouted as a model are... well, nonexistent. "Yeah, I'm pretty nervous about the catwalk--what do you mean 'oh God, look at your hands'? ...Oops, yeah, about that..."
Don't think there's much call for genetic experiments in fashion catalogues, right?
I saw my first-of-year Bluebird just 9 days ago, but didn’t get any decent photos. Today however, I found at least 4 birds and got within photo range more than once. With this nearly nonexistent winter, I have to keep reminding myself that it’s still February and not April. Hennepin County, MN 02/21/24
TITLE: Forêt de Compiègne
ARTIST: Paul Huet
TIME: about 1830
MEDIUM: oil on canvas
TITLE: Weymouth Bay from the Downs above Osmington Mills
ARTIST: John Constable
DATE: about 1816
MEDIIM: oil on canvas
1. What renewable natural resources are visible in this artwork?
The renewable natural resources visible in this artwork are sunlight and geothermal energy.
2. What intermediate-renewable resources are visible in this piece?
The intermediate-renewable resources visible in this piece are forest products, agricultural crops, and soils.
3. What fields of study might be represented in the piece?
Ecology and biology would be the main fields of study represented in this piece, as they apply to any biome. Chemistry would also apply to this environment because chemical reactions and relationships are happening continuously in nature. Geology, geography, archaeology, anthropology, and history could also be applied to this landscape because they answer questions of who/what existed here previously and how, which in turn allow us to understand more about the environment pictured.
4. Interpreting your piece, where on the continuum from ecocentric-to-anthropocentric would you consider the artist's viewpoint?
Huet's viewpoint in these pieces would be ecocentric. He took the time to paint this landscape 5 times from different viewpoints to capture the beauty of this untamed forest. It's very clear that Huet values this ecosystem and would advocate its preservation.
5. Interpreting the artwork in terms of the "Human Influence Index", approximately what is the level of human influence depicted in your piece?
The level of human influence depicted in this piece is very low, if not nonexistent. Huet may have been the only human making an impact on this ecosystem through his wanderings, and that impact is not harmful or detrimental in the least.
6. How would you interpret energy flow in the depiction shown in the artwork?
The energy flow in this artwork would be:
sun -> grass -> grasshopper -> rodent -> hawk -> soil bacteria -> leaves
7. Approximately which ecosystem/ biome is depicted in the artwork you observe?
The biome depicted in the artwork would be a temperate rainforest. After doing some research on the Forest of Compiègne, I read that it is a "lush" environment, meaning that it experiences substantial rainfall for a forest. It is clear in Huet's paintings of the forest that the soil is very fertile, attributing to the amount of trees and grasses. There is also a good amount of sunlight that permeates the canopy, allowing plants to thrive, which in turn feed consumers present in the ecosystem.
8. Describe one of the biogeochemical cycles for the landscape you chose.
The carbon cycle would be most applicable to this temperate rainforest biome because it focuses on the distribution of carbon in the atmosphere by trees and other plants. Trees respirate carbon dioxide given off by humans and other organisms, sending it back into the atmosphere. Plants also use carbon dioxide from the atmosphere for photosynthesis.
9. Sketch the food web that is depicted in the landscape you are studying.
sun -> grass -> caterpillar -> bird -> wolf
10. Describe examples of succession and/or human disturbance in the landscape.
There is little or no human impact present in any of these paintings. If anything, the only impact would be Huet walking through the forest, but that doesn't disrupt the equilibrium of the ecosystem.
This ship is my favorite out of my physical collection. Its just the rights size for play while still having enough detail for display and has an interior. Said interior is based of the cross section book for the force awakens. There is a single bed and nothing else. I wish that the bed could be moved over though, as it is taking up quite a bit a space.
Problems:
the rear door is invisible
the rear wings are not all the way at the end of the ship
there are no front wings
the cockpit is nonexistent
The Flips supporting Meredosia, Bad Catman, Bookmobile, and Looming at Black Sheep Cafe in Springfield, IL on January 17, 2014.
Words cannot describe how good it felt to be shooting another show at Black Sheep after so long. It doesn't have the greatest lighting and the photo pit is nonexistent, but I just feel so at home there because that community of people is just incredible. They all support each other so much and it's amazing to be a part of that and to get to photograph it every so often. And then getting to be the guest photographer for Harm House's "Record of the Night" was absolutely awesome. Honestly, when I look back, I can't even begin to describe how thankful I am to the Black Sheep venue and community for everything they've done for me. This was my training ground when I was really getting started, and these are the people who took me in and accepted me without question and without reservation. That, and they put on some kick-ass shows =)
Research into remote controlled drones began in Germany in the late 1930s, namely by Fritz Gosslau. The Luftwaffe showed little interest in the project until mid-1942, when Gosslau, with the help of the Argus powerplant company and Fieseler, presented a simple design powered by a single pulse-jet engine. The Luftwaffe was intrigued enough to begin experimentation, with the design named the Fieseler Fi 103.
Though prototypes were air-launched, ground launching was much simpler and safer. Delays caused by Allied bombing and other projects delayed the first operational use of the Fi-103 until mid-June 1944; by that time, Hitler had already approved renaming the design in German propaganda as the Vergeltungswaffe 1--"Vengeance Weapon 1," or V-1.
From a military standpoint, the V-1 was a poor weapon. Its guidance system was fairly advanced for its time and its simplicity, but it could only be used against large cities such as London, and after late 1944, Antwerp. Where it would land was anyone's guess, and V-1s would stall easily. Many simply fell out of the air. All the V-1 could really do was kill civilians, which was exactly what Hitler intended.
The V-1 was fast, but not so fast that Allied high-speed propeller fighters could not keep up with it. Specially deployed units of Hawker Tempests and deHavilland Mosquitoes were formed to shoot them down; another method was to tip up the wing of a V-1 with the wingtip of the fighter, causing it to go out of control. Flak barrages were also somewhat effective. The most effective method of stopping V-1s was to ensure they were never launched: Operation Crossbow was enacted to bomb launch ramps and underground storage facilities. By late 1944, most of the launch ramps were overrun by Allied ground forces, but launch ramps in Germany and Heinkel He 111 bombers kept sending out V-1s until the last weeks of the war.
Of the 30,000 V-1s produced--it was remarkably simple to produce, even for a devastated German war industry--only 10,000 were launched, and of those, only 2400 reached their targets. Those that did, however, killed 6100 civilians; at one point, more civilians were killed in London than British soldiers in northwest Europe. After war's end, captured V-1s were used experimentally by the Allies to develop early Cold War-era cruise missiles.
Dad built this V-1 for a course on World War II that I teach. Markings were simple to nonexistent on most V-1s, though most were camouflaged; this one carries a standard Luftwaffe green over gray-green scheme.
Huntsville & Madison County Railroad Authority local with a pair of rare B39-8s seen making their return back to their yard just out frame as they cross the small trestle over Huntsville Spring Branch, these classic units are practically nonexistent anywhere else on todays rails and are a gem when found operating on shortlines such as the HMCRR
Ok first impressions -- at F2.8 it does better than most, with a little softness mostly around the corners. (The DA* 50-135mm F2.8 was sharper at F2.8 but everything else still applies to that lens as well)
The SDM is quieter than the canon USM that I've heard -- with my ear pressed to the lens I could barely hear it!! Its not as fast as I had expected, certainly less hunting than the normal AF but in bright sunlight I'm sure its plenty fast.
By F5.6 this lens is razor sharp, as to be expected. Chromatic aberration is almost nonexistent!
Processed with lightroom defaults and no post processing whatsoever
Price for this one was $899, the 50-135mm was $950
Of course, both lenses are fully weather sealed
Fun to try, need to sell more prints first =D
I'd say, my take on the Afghan Girl, but then this is probably as far from that as my (nonexistent) photographic talent from Steve McCurry's :)
This ship is my favorite out of my physical collection. Its just the rights size for play while still having enough detail for display and has an interior. Said interior is based of the cross section book for the force awakens. There is a single bed and nothing else. I wish that the bed could be moved over though, as it is taking up quite a bit a space.
Problems:
the rear door is invisible
the rear wings are not all the way at the end of the ship
there are no front wings
the cockpit is nonexistent
The ladies' loo lines were short -- nonexistent, even. Has ballpark restroom design finally caught up with feminism? (Citizens Bank Park, Philadelphia, PA, 8/27/04)
hello flickr!
I've missed you guys. :(
I know some of your have told me to keep around. I havent disappeared, Ive just been super busy. but thats life. I never realized how much of my life is not being blogged or recorded somehow.
i miss it.
maybe another 365 or a 52 week is in order. ive been contemplating it.
anyways. ive missed you guys. I have decided I want to learn french and my friend said he'd hook it up with the rosetta stone. :)
life itself keeps moving. love is nonexistent as always, and business is booming.
i feel so free. i like it. :)
now i am off to shower and cook dinner for a friend who is coming over :) i hope i dont kill anyone, geez :P
'Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery – celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from – it’s where you take them to.”'
~ Jim Jarmusch
Sculpture Trouvée, Gersloot
17-365-2 Dragon Ride
After a long and frustrating night and morning of trying in vain to get my computer online I decided to go for a drive.There is a wildfire out near Detroit Lake Oregon and I thought I would go see if I could find a nice safe spot to get some pictures from. I drove for about 2 hours to find the dirt road that my squirrely GPS was leading me to. I follow it for about a mile and a half to have it tell me, "Make a left" onto a nonexistent path. The forest was so thick that you could not see anything let alone a fire. However on my journeys through the woods I found a nice spot for a few sunset pictures instead.
This was the most beautiful, intense and unusual sunset I have EVER seen! There were upon counting the shots later, about 17 or 18 Dragon heads in the clouds! Also the clouds were constantly changing and forming strange mountains outlined by the setting sun on the horizon! At times the sky looked like it was on fire! Though I never saw a flame, this more than made up for it!
Look close and you might just see the title within. A small dark haired girl gleefully riding the tail of a dragon...
We found Andrew Linn drifting around in the almost nonexistent breeze in his Puddle Goose, using plans from Michael Storer as inspiration, but adding significant personal touches.
Sidney Woodruff, graduate student, gets a photo of Emily Phillips (blue), a ecology graduate student, with the Western Pond Turtle in the Arboretum on June 8, 2022.
The project involves assisting Dr. Brian Todd and Ph.D. Student Sidney Woodruff in a research study evaluating how native species respond to the removal of non-native species and waterway restoration. The research objectives are to investigate the abundance and population demography of the native Western pond turtle (Actineymys marmorata) and population response in growth and demography from the removal of non-native red-eared sliders. Natural populations of the Western pond turtle are found in the UC Davis Arboretum where red-eared sliders occupy the same ecological niche in high densities. Natural populations of Western pond turtles are found in the nearby South Fork of Putah Creek where the presence of non-native turtles is extremely low or nonexistent. This work can highlight the importance of waterway restoration in building a more resilient ecosystem while supporting the recovery and conservation of native species.
Providing this opportunity will allow undergraduate students to be involved in wildlife conservation research under the supervision of a graduate student mentor and PI while also supporting the objectives of this study and the restoration of the UC Davis Arboretum.
Boredom in Tartu
Canon AE-1 with Canon FD 50mm f/1.8
Tri-X @ 1600
stand developed in Rodinal 1:100
I'm really into low-light shooting but I can never really get the results I want. I usually end up with either blown-out highlights or nonexistent shadow detail. This is my first time using Rodinal and I'm really pleased with the results, I don't think I'll be using anything else for a while now.
Not sure if this is real or a clone. A real version of this car is practically nonexistent (at least from what I have read).
Fast food means already prepared food. Bread and tea are the staples of my diet here for tea time. We were eating plain bread (slices not rolls pictured) at my house for a few months before I thought about getting a toaster. When I went into town I couldn't find one looked like it wouldn't break after two uses. (that is the problem living in country where customers first is a nonexistent policy and quality isn't worth the price. Knowing this the problem is exacerbated with toasters as they are so simple and made of thin metal you cant tell if they are destined for the trash or not) Fortunately a family living in town wasn't using theirs and let me barrow it for the remainder of my stay. Thus my food revolution continued upgrading from plain bread to slightly burned bread (toast). Another development in the revolution is the fancy I now have for peppered popcorn.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The North American Aviation P-51 Mustang was an American long-range, single-seat fighter and fighter-bomber used during World War II and the Korean War, among other conflicts. The Mustang was designed in 1940 by North American Aviation (NAA) in response to a requirement of the British Purchasing Commission. The Purchasing Commission approached North American Aviation to build Curtiss P-40 fighters under license for the Royal Air Force (RAF). Rather than build an old design from another company, North American Aviation proposed the design and production of a more modern fighter. The prototype NA-73X airframe was rolled out on 9 September 1940, 102 days after the contract was signed, and first flew on 26 October.
The Mustang was originally designed to use the Allison V-1710 engine, which, in its earlier variants, had limited high-altitude performance. It was first flown operationally by the RAF as a tactical-reconnaissance aircraft and fighter-bomber (Mustang Mk I). Production of the P-51B/C began at North American's Inglewood California plant in June 1943 and P-51s started to become available to the 8th and 9th Air Forces in the winter of 1943–1944. The addition of the Rolls-Royce Merlin to the P-51B/C model transformed the Mustang's performance at altitudes above 15,000 ft, allowing the aircraft to compete with the Luftwaffe's fighters. Among the almost 4.000 Mustangs of this variant built a quarter was supplied under Lend-Lease to the RAF as the Mustang Mk III. The definitive version, the P-51D, was powered by the Packard V-1650-7, a license-built version of the two-speed, two-stage-supercharged Merlin 66, and was armed with six .50 caliber (12.7 mm) AN/M2 Browning machine guns.
The P-51 offered an excellent performance, but North American kept trying to improve, and developed a number of lightweight versions. The lightweight Mustangs had a new wing design and airfoils designed to give less drag than the previous NAA/NACA 45-100. In addition, the planform was a simple trapezoid, with no leading-edge extension at the root.
In 1943, North American submitted a proposal to redesign the P-51D as model NA-104, from an enquiry by the USAAF as to why British aircraft were lighter than American ones. NAA engineers had examined the various components and equipment fitted to Spitfires, and through thorough inspection of airframes and construction plans NAA found that British load factors were less than American ones, and working to the lower load factors helped the design team reduce structural weight wherever possible. Exploiting the structural potential and lightening or reducing other equipment, the NA-104’s revised design was in total some 1,600 lb (730 kg) lighter than the P-51D. Modifications to save weight and improve performance included a thinner laminar flow wing, streamlining changes to the cowling, a simplified undercarriage with smaller wheels and disc brakes (necessitated by the thinner wings), a different canopy, and an armament of only four 0.5” Brownings, even though the ammunition supply was changed to 400 rounds per gun.
The lightweight NA-104 was powered by the new V-1650-9 engine, a redesigned "slimline" version of the Merlin 100-series. The engine’s design was modified to decrease frontal area to a minimum and was the first Merlin series to use down-draught induction systems. The coolant pump was moved from the bottom of the engine to the starboard side, and the engine featured a two-speed, two-stage supercharger and an S.U. injection carburetor. The V-1650-9 not only delivered an increased constant output of 1,380 hp (1,030 kW), it also featured a water-methanol injection that could temporarily boost the engine’s emergency power to 2,218 hp (1.655 kW). The exhaust arrangement was revised, too, exploiting the engine’s residual thrust to gain even more speed. An “uncuffed” three-blade Aeroproducts propeller unit with deeper blades was fitted, to better cope with the higher power output and the higher blade speeds
.
Unlike later lightweight Mustang versions/prototypes the NA-104‘s ventral radiator fairing remained the same shape and size, just as the main landing gear and its covers, both were, despite improved designs on the prototyoe workbench, retained to promote a quick production introduction. The former V-1650-7’s carburetor chin intake was relocated into the right wing’s root, and the cowling was modified and streamlined. The modified nose section was slightly longer than on previous Mustang versions, and to compensate for a resulting slight center of gravity shift forward the rear fuselage was slightly extended with a plug in the rear fuselage, just front of the tail surfaces, what increased the NA-104’s overall length by ~10 inch. As a side effect the longitudinal stability improved, so that the NA-104 did not require the stabilizing fin fillet that had been introduced on the P-51D and some late production P-51B/Cs, too.
In test flights, the NA-104, with optimized fuel load and a highly polished finish, achieved 491 mph (790 km/h) at 21,000 ft (6,400 m). In September 1944 the NA-104 was accepted by the USAAF as a high-performance interceptor under the designation P-51E. 500 aircraft were ordered, primarily for operations in Europe, specifically for the 8th and 9th Air Force, to protect the Allied airfields in Great Britain and as long-range escort fighters for Allied bomber raids against Germany. An option for 1.000 more was signed, too, to be delivered from August 1945.
The first P-51Es arrived in Great Britain in January 1945. However, large-scale combat between 8th Fighter Command and the Luftwaffe interceptor force had become virtually nonexistent after 28 May 1944 but, in August, contact had been made for the first time with both rocket-propelled and jet-propelled interceptors. While themselves a harbinger of a tactical change by the Luftwaffe, the contacts also indicated that the Germans were husbanding their fighter aircraft for sporadic reaction against Allied bomber attacks.
Operational tasks for the USAAFs P-51Es included the support of bomber attacks against German ground transportation during the Allied counter-offensive in the Ardennes in early 1945, strafing ground targets daily. However, on 14 January, strategic bombing resumed with attacks on oil installations near Berlin, and Mustangs were frequently tasked with protecting B-17s, employing a variation of the escort tactic called the "Zemke Fan", designed to lure in interceptors.
The Luftwaffe’s Jagdverbände, severely depleted, turned to jet interceptions beginning 9 February 1945 in an attempt to stop the onslaught of Allied heavy bombers. The Allies countered by flying combat air patrol missions over German airfields, intercepting Me 262s and Ar 234s as they took off and landed, the moment when these fast aircraft were most vulnerable. The tactic resulted in increasing numbers of jets shot down and controlled the dangerous situation, particularly as the amount of German-controlled territory shrank daily.
Another threat was the V-1 flying bomb attacks that had begun in mid-June 1944. The only aircraft with the low-altitude speed to be effective against it was the Hawker Tempest, but by that time fewer than 30 Tempests were available, assigned to No. 150 Wing RAF. Early attempts to intercept and destroy V-1s often failed, but improved techniques soon emerged. These included using the airflow over an interceptor's wing to raise one wing of the V-1, by sliding the wingtip to within 6 in (15 cm) of the lower surface of the V-1's wing. If properly executed, this maneuver would tip the V-1's wing up, over-riding the gyro and sending the V-1 into an out-of-control dive. At least sixteen V-1s were destroyed this way, the first by a P-51 piloted by Major R. E. Turner of 356th Fighter Squadron on 18 June 1944. Once available, the USAAF’s P-51Es were frequently assigned to V-1 interception duties over the Channel and the southern coast of England, alleviating RAF units.
However, with the end of hostilities in Europe in May 1945 the P-51E contract was cancelled, as well as the option for more aircraft. Altogether only 363 lightweight P-51Es were completed and reached frontline units, exclusively operating with the 8th and 9th Fighter Command.
General characteristics:
Crew: 1
Length: 33 ft 3 in (10,15 m)
Wingspan: 37 ft 0 in (11,28 m)
Height: 13 ft 4½ in (4,08 m)
Wing area: 234 sq ft (21,81 m²)
Airfoil: NACA 66(2)-215
Empty weight: 5,792 lb (2.630 kg)
Loaded weight: 7,268 lb (3.300 kg)
Max. take-off weight: 9,559 lb (4.340 kg)
Maximum fuel capacity: 419 US gal (349 imp gal; 1,590 l)
Powerplant:
1× Packard V-1650-9 liquid-cooled V-12 with 2-stage intercooled supercharger,
delivering 1,380 hp (1,030 kW), 2,218 hp (1,655 kW) WEP with Water methanol injection,
driving a Hamilton Standard constant-speed, variable-pitch three blade propeller with
a 11 ft 2 in (3.40 m) diameter
Performance:
Maximum speed: 472 mph (760 km/h; 410 kn) at 21,200 ft (6,500 m)
Cruise speed: 362 mph (315 kn, 580 km/h)
Stall speed: 100 mph (87 kn, 160 km/h)
Range: 1,650 mi (1,434 nmi, 2,755 km) with external tanks
Service ceiling: 41,900 ft (12,800 m)
Rate of climb: 3,200 ft/min (16.3 m/s)
Wing loading: 39 lb/sqft (192 kg/m²)
Power/mass: 0.18 hp/lb (300 W/kg)
Lift-to-drag ratio: 14.6
Recommended Mach limit 0.8
Armament:
4× 0.50 caliber (12.7mm) AN/M2 Browning machine guns with 400 RPG
A pair of underwing hardpoints for a pair of drop tanks
or bombs of 100 lb (45 kg), 250 lb (113 kg) or 500 lb (226 kg) caliber
The kit and its assembly:
A project that was more complex than obvious at first glance. The plan was to create a “missing link” between the WWII P-51D and its lightweight sibling P-51H, which came too late in WWII to take seriously part in any combat. There actually were some “interim” designs, which paved the way (the F, G and J models), with lightweight hulls or different engines. My plan was to adopt some details of these aircraft to create the fictional P-51E.
For a look that subtly differs from the well-known P-51D I decided light-headedly to bash two Academy models together: a P-51D hull, mixed with the wings and tail from a P-51B/C kit, plus some inter-kit and external donors. What sounds simple turned out to be a major surgery task, though, because both kits are totally different, produced with individual moulds and few interchangeable parts! Even details which you’d expect to me identical (e. g. wing tip and tail shape) differ markedly.
For the P-51E kitbash the fuselage with cockpit, engine and radiator bath was taken from the P-51D, while the tail and the wings were taken from the P-51B/C, because they were slightly bigger, “edgier”, lacked the fin fillet and featured only four machine guns in the wings. Mating these parts called for many adaptations and massive PSR, though. To change the look further I removed the small wing leading edge extensions, for a completely straight edge, and the cowling was changed to look like a mix of the P-51F and J prototypes. The carburetor intake disappeared and a part of the P-51D spinner was used to extend the fuselage a little. A completely new three-blade propeller was scratched, using a Yokosuka D4Y spinner, a piece from an ESCI Ka-34 Hokum main rotor, and clipped blades from a Hasegawa F5U. A styrene tube was added to hold the propeller’s new metal axis. To compensate for the longer nose the rear fuselage a 2mm section of the P-51D hull was retained in front of the transplanted P-51B/C tail (which is a separate hull section, the -D has an integral tail).
The original exhausts were replaced with resin aftermarket pieces for P-400 Airacobra from Quickboost - for which the nose extension paid out, because the V-1710 exhaust arrangement is longer than the Merlin's.
Painting and markings:
I wanted a typical, potentially colorful USAAF livery from early 1945 for this what-if aircraft model. This meant that the aircraft would have a NMF livery, and Invasion Stripes or other ID markings were already removed or not applied to new aircraft anymore. Camouflage had been omitted from 1945, too. As squadron markings I went for the 357th FG red-and-yellow nose markings; these came with Academy’s P-51B/C kit, but I replaced them with decals from a Mistercraft/Intech kit from The Stash™ because their shape was simpler and would (probably) better match the modified lower nose. Searching for later P-51Ds of this group revealed that the aircraft hardly carried any other colorful marking, though – just the tactical code, and maybe some personal markings.
To keep in style I adapted this basis, using a tone called “White Aluminum (RAL 9006)” from a Duplicolor rattle can as an overall basis, but added a thin red edge to the olive drab (Revell 46) anti-glare panel, created with generic decal stripes. The rudder as well as the wing tips were painted in red, an official 363rd FS ID marking, as a counterbalance to the prominent nose, too.
The propeller spinner was painted free-handedly, in an attempt to match the checker decal's colors. Some hull panels were painted in a darker shade of aluminum to make the model look mo0re lively, and some post-shading with Humbrol Matt Aluminum Metallizer was done to improve that effect, too. Cockpit and landing gear wells were painted in a bright green zinc chromate primer tone.
Decals and markings were puzzled together from various sources. Finding a suitable 'B6' code fpr the 363rd FS was tough, but I was eventually able to scratch it from 'P9' codes from two Academy P-47D kits/sheets! BTW, the horizontal bar above the aircraft's individual letter was a real world marking for a second aircraft that bore this tactical code within the unit. The nose art/tag was also donated from an Academy P-47, the yellow font matches the rest of the unit colors well.
The anti glare panel and the propeller blades received a matt varnish coat, while the rest of the hull was covered with a mix of matt and a little semi-gloss varnish - contemporary Mustang photos from 1945 suggest that, despite being bare metal, the aircraft were not polished or shiny at all, yet the aluminum would have some reflections. I think that the final overall finish looks quite good. As a final step I added some light soot stains behind the exhausts and the machine gun orifices, and dry-brushed some silver on edges/areas where paint could have flaked in real life. Not much, but it adds to the overall impression of a used aircraft.
A more demanding project than meets the eye. Bashing the two Mustang kits for a fictional new one might have been a smart idea, but it turned out to be a nightmare because the two 1:72 Mustand Academy kits are totally incompatible. Additionally, the mods I made are VERY subtle, it takes a keen eye to recognize the lengthened hull, the modfied cowling and the cleaner tail. The three-blade prop is the most obvious thing, and with it, from certain angles, the P-51E reminds somewhat of a Yak-9? Probably due to the intake-less cowling and the (for a Mustang) unusual prop? The livery looks plausible and colorful, though. :D
Commuting home on my 80s 12-speed. Skinny 28s and a complete lack of brakes makes Denis an "exhilarating" ride off-road. This part of the track is almost nonexistent.
This bridge, carrying US 6 over Westcott Road (SR 607, formerly US 6A), is the center of a modified diamond interchange with frontage roads. Signage is nearly nonexistent.
We found Andrew Linn drifting around in the almost nonexistent breeze in his Puddle Goose, using plans from Michael Storer as inspiration, but adding significant personal touches.
These dramatic cliffs are only about a half hour drive from the Borgo across twisting turning roads through gorgeous "Tuscan badlands" scenery. We had to be careful getting this shot though--the roads, though beautiful, are narrow, the shoulder is nonexistent and just beyond these beautiful plants the cliffs drop directly downward!
Cedars of Lebanon State Park is a state park in Wilson County, Tennessee, in the southeastern United States. It consists of 900 acres situated amidst the 9,420-acre Cedars of Lebanon State Forest. The park and forest are approximately 10 miles (16 km) south of Lebanon, Tennessee.
Cedars of Lebanon State Forest is known for its cedar glades, a unique type of ecosystem that has adapted to the thin (or nonexistent) soil layers that often occur in the eastern Central Basin. These glades are typically flanked by thick stands of red cedar, a type of juniper tree that can survive in soil layers too thin to support most large wooded plants. The presence of the red cedar in the basin reminded the region's early Euro-American settlers of the Lebanese cedar forests of Biblical fame.
Cedars of Lebanon State Forest is underlain by Ordovician period limestone, formed roughly 460 million years ago from calcareous ooze deposited by a primordial sea that once covered Middle Tennessee. Weathering of this rock has led to the creation of karst formations such as joints, underground streams, caves, and sinkholes, which are common throughout the park and forest. The forest is located in a flat section of the Central Basin characterized by thin soil layers where the limestone bedrock is often exposed.
Cedar glade communities have adapted to the basin's harsh barrens, where the soil is too thin to support most plant types, especially large wooded plants. The glades are typically open areas resembling rock or gravel-strewn meadows. Most glades include small areas of bare rock where nothing grows, gravelly areas where only grasses grow, and patches of very thin soil that support shrubs and small red cedars. Cedar glades are typically surrounded by stands of red cedar known as cedar thickets. Beyond the cedar thickets, the soil is thick enough to support a hardwood forest consisting primarily of oak and hickory.
The cedar glades of Cedars of Lebanon State Forest are home to 350 plant species, 29 of which are endemic to the cedar glades. Flowering plant species living in the glades include the formerly endangered Tennessee Coneflower (Echinacea tennesseensis), the Prickly Pear cactus (Opuntia humifusa), Limestone flame flower (Phemeranthus calcaricus), Gattinger's Prairie Clover (Dalea gattingeri), Glade Phlox (Phlox bifida), and Nashville Breadroot (Pediomelum subacaule). Nonflowering plants include reindeer moss and glade moss. Along with the red cedar, trees in the surrounding forest include white oak and shagbark hickory. Wildlife chiefly consists of rodents and birds.
This picture is a DOE site in Moab, Utah, which is in the midst of clean up efforts. We got a tour, but they wouldn't (obviously) let us get out near or on the pile, though we did step out a little bit by the river. It's pretty hard to convey the size of the thing since the pile is actually 3 stories high and much bigger than the area covered by those buildings, so if you get the whole site, it doesn't look tall, and if you get a close up with scale for the height, it doesn't look large in area. I wanna go back and I'm starting to think that maybe the best way is just to go on or lead another ASB trip to the area...
They drove us up this hill to this vantage point, where, behind us, there were train cars being loaded with tailings, which are being transported by rail (citizens find trucks objectionable and potential accidents would be a huge public relations disaster) to a remote site 50 miles from the nearest civilization, where it will be capped in the ground - basically lining the hole with impermeable material, throwing the tailings in and covering it up. This might sound flimsy, but it is at least preferrable to the current location of the pile, which is literally right next to the river.
Factually, the amount of uranium in the pile is supposed to be less of a cause for worry than exposure to radiation when flying, getting x-rays or even staying in a badly finished basement (radon gas), but we met with a couple of reps from the local city council and they very much prefer the pile be dealt with to prevent further leaching into the water supply, however minimal by DOE estimates. The DOE reps we met with claimed that the uranium levels were almost nonexistent any distance away from the the site, and were in fact the last thing in the water we should be concerned with given anti-depressants and other pollutants.
These issues in the Southwest seem somewhat pertinent to Southern California since after all, the entire LA metropolitan and suburban area is downstream. In fact, it was the Metropolitan Water District of LA that was the deciding factor in the clean up project in Moab getting the go-ahead. In the words of Don Metzler, they are the "800 pound gorilla" that gets things moving.
In other news, China film is ready for pickup! Commence scanning!
In this humorous photo, the dog and the bunny are exposing the internet trend of loss of privacy, specifically as it relates to Facebook. This website definitely falls under the genre of social media and it is very easy to release personal information to strangers, thus a loss of privacy.
www.lossofprivacy.com/index.php/2010/06/facebook-privacy-...
indulgent brunch at alias on clinton & rivington. the menu included: cinnamon beignets & dipping chocolate, mac & cheese, blt w/a fried egg (pictured), and cheesy grits.
heaven.
(and they let us hang out to wait for jac, who was 1.5 late due to a nonexistent M, a slow L, and an F that stopped service too early.)
I did say it had a claim to fame!
The poster featuring Arriva Guildford & West Surrey 3928 (GK51 SZF) is everywhere in Surrey, including not one but two copies here at the Dormansland School bus stop! This is the more faded example.
This part of extreme-east-most Surrey is miles and miles away from 3928 ever reaching it.
Interestingly, on StreetView, this is one of those useless bus shelters that is set back so far from the road, and with the view of approaching buses nonexistent, that if you used it, you'd be at risk of missing the bus! goo.gl/maps/JnSHW
It has since been moved forwards however, it was adjacent to the pavement when I saw it.
Dormans High Street, Dormansland, Surrey.
I roasted a chicken last night.
It was an unusual dinner, as I've been a strict vegetarian (and sometimes aspiring vegan) for about six years. But this chicken came from my mother's friend who raises them herself. I'm not ethically opposed to eating humanely-raised animals, so when my mom offered me one, I couldn't think of a good reason to say no.
Obviously, my poultry cooking skills are rusty (err, nonexistent), but I found a recipe that turned out good (despite its appearance).
But it's probably the last chicken I'll ever eat. I didn't feel guilty or viscerally disgusted as I'd expected, but the whole process seemed dirty, difficult, and unnecessary compared to cooking with plant-based foods. Hacking up a cucumber is easier than deskinning a bird.
So back to vegetables.
(And yes, it's clear from the photo that I have no idea how to carve a chicken. Stabbing at random seemed to work though.)
Photographs by Paul Russell
Learn more about Steve's work: visitsteve.com/
ABOUT THE PROJECT
(from the SPACES catalog)
Starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?”
The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh.
At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform.
As a culture, we need the vision and boldness it takes to discuss the problem itself. The idea that “there is no alternative” to the way our world works takes away our ability to dream. As citizens we need the courage to begin these discussions on order to move on to new and better visions for the future.
But what to do? Start a conversation about capitalism and friends edge away slowly, and strangers even faster.
This is what art is for. This is what art does well. It creates a space where new ideas and perspectives can be explored. A space unlike any other.
Throughout my artistic career I’ve challenged myself to take on difficult subject matter in ways that are engaging and fun. I’ve found humor and popular culture can open doors to difficult but worthwhile subjects and enable us to envision and move toward new, utopian futures.
The sign starts here in Cleveland and will tour the US leading up to and beyond the 2012 presidential election. People who vote will be given the opportunity to have their portrait taken and give a short statement about why they voted the way they did. There will be a book, website, and videos that document people’s interactions and thoughts.
I’m excited that this piece takes on what for most Americans is a taboo, or even nonexistent subject: whether global, hegemonic capitalism actually works for most people. But whew, talking about that is boring! And telling people what to think is worse! This sign gets passers by to participate in deceptively simple vote (True/ False) which only pretends to offer resolution. Every aspect of the interaction draws them in to more complex questions and conversations, leading to new thoughts and ideas about a better world!
For 50 years it has been unacceptable, politically, in the United States to ask what is basically a straightforward question. We have a particular economic system, it’s called capitalism. We have every right as a society to ask of that system, is it working? Is it working for us? Do the benefits and the costs balance themselves out in a way that says, do we want to keep this system? Or that says, we want to change this system? Or that says, we ought to look at an alternative system. We’ve been afraid to ask that question. We’ve been afraid to have public debates—that’s the legacy of the cold war. We can’t afford anymore to not do that. We have to raise the question.
This was taken in Early Spring as the snow begins to melt, it leaves behind some pretty cool things to look at
Before cell phones, we relied on payphones to keep us connected when traveling. In places where cell coverage is spotty or nonexistent, payphones are still a thing.
Most of the phonebooths are gone, replaced (if replaced at all) with these small sci-fi pods that probably haven’t been touched since the 90s.
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‘A Twist Towards Him’
Camera: Argus C2 (1939)
Film: Adox KB-21 (x-1959); 10iso
Process: HC-110; 1+100; 60min
Waverly, Kansas